An Exploration of Classical Guitar Literature Through the Ages

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This Thesis is brought to you for free and open access by the School of Music at Belmont Digital Repository. It has been accepted for inclusion in Recital Papers by an authorized administrator of Belmont Digital Repository. For more information, please contact [email protected]. MASTER OF MUSIC CULMINATING PROJECT: AN EXPLORATION OF CLASSICAL GUITAR LITERATURE THROUGH THE AGES

By SAMUEL R. BURNS

A RECITAL PAPER

Submitted in partial fulfillment of the requirements for the degree of Master of Music in Performance in the School of Music of the College of Music and Performing Arts Belmont University

NASHVILLE, TENNESSEE May 2021

Submitted by Samuel Burns in partial fulfillment of the requirements for the degree of Master of Music Performance in Classical Guitar.

Accepted on behalf of the Graduate Faculty of the School of Music by the Mentoring Committee:

19/03/21______Date Paulo Oliveira, DMA Major Mentor

______Francis Perry, MM Second Mentor

______Clare Eng, Ph.D. Third Mentor

______4/26/21 ______Date Kathryn Paradise, MM Director of Graduate Studies in Music

Table of Contents

Examples ...... iv

Acknowledgements ...... vi

Presentation of Material

Introduction ...... 1

John Dowland ...... 2

J.S. Bach...... 7

Fernando Sor ...... 11

Roland Dyens ...... 15

Paulo Bellinati ...... 18

Andrew York ...... 27

Conclusion ...... 31

References ...... 34

iii

Examples

1.1 John Dowland, Frog Galliard mm. 29-32 ...... 5

1.2 Samuel Burns, Rhythmic variations ...... 6

2.1 J.S. Bach, Prelude BWV 998 mm. 46-48 ...... 9

3.1 Fernando Sor, Op. 6 no. 8 mm. 8-17 ...... 13

3.2 Fernando Sor, Op. 35 no. 22 mm. 1-4 ...... 13

3.3 Fernando Sor, Op. 35 no. 17 mm. 1-4 ...... 14

4.1 Roland Dyens, Hymne à l’amour mm. 1-4 ...... 17

5.1 Paulo Bellinati, Cadencia mm. 1-3 ...... 19

5.2 Paulo Bellinati, Cadencia mm. 5-11 ...... 20

5.3 Paulo Bellinati, Contatos mm. 1-3 ...... 20

5.4 Paulo Bellinati, Contatos mm. 7-8 ...... 21

5.5 Abel Carlevaro, Serie Didactica ...... 21

5.6 Paulo Bellinati, Contatos mm. 28-30 ...... 22

5.7 Paulo Bellinati, Alba mm. 1-2...... 22

5.8 Paulo Bellinati, Alba mm.16-18...... 23

5.9 Paulo Bellinati, Pau de Chuva mm. 4-6 ...... 24

5.10 Paulo Bellinati, Pau de Chuva mm. 13-15 ...... 24

5.11 Paulo Bellinati, Les Jambes mm. 1-2...... 25

5.12 Paulo Bellinati, Les Jambes mm. 43-44...... 26

6.1 Andrew York, Home m.1 ...... 28

6.2 Andrew York, Home mm. 14-15 ...... 28

6.3 Andrew York, Home, mm. 52-54 ...... 29

6.4 Andrew York, Home mm. 58-63 ...... 29

Acknowledgements

I would first like to thank Dr. Paulo Oliveira for your support and encouragement throughout this master’s program. Your ability as a guitarist, performer, and teacher continues to inspire me. It has been an honor to work with you and learn the ins and outs of developing a career as a musician and a scholar.

I would also like to thank Dr. Clare Eng for your insight and your guidance during my time here at Belmont. Your course was the highlight of my academic experience and where I grew the most as a student of music. A special thanks to Francis Perry as well for his meaningful impact on my musicianship and the input you have provided on this paper.

Most of all I would like to thank my mother, my brother, and my sister. Your unconditional love and solace have made this journey possible for me. I cannot wait to see what the future holds.

Introduction

Immaculate technique, informative interpretation, and delicate nuance are all qualities of performance on the classical guitar. In order to have a successful recital, a guitarist must tune into their inner dialogue and creative imagination. This takes dedication, long hours of mindful practice, and a playful heart. The process of preparing a masters recital has several layers of development, analysis, and personal discovery.

My intention with this recital paper is to convey the historical, technical, and pedagogical significance of each individual piece I will be performing. I will do this by researching the backgrounds of specific composers and by highlighting significant moments of history. I will also investigate the technical and artistic challenges I faced as a student learning these pieces. As a performer, it is essential to understand not only the theoretical backbone of the written music, but also how and why it was performed. Are there themes depending on the time period in which the piece was composed? Were they written for a specific purpose? Does the evolution of guitar construction play a part in the type of material written? This document will be divided into three main sections: an introduction, the presentation of material, and a conclusion that provides a pedagogical framework for developing and performing some characteristic selections from classical guitar literature.

Chapter I: John Dowland (1563-1626) Frog Galliard & Sir John Smith, His Almain

History

John Dowland was a renowned lutenist, songwriter, and composer. He wrote many works for the lute during the late Renaissance period and was one of the most popular musicians of his time. There is little to be found on his early life, but it is recorded that he received a Bachelor of Music degree from the prestigious University of

Oxford in 1588. At the turn of the century, he maintained a post as lutenist to Christian

IV of Denmark. In the following years, he served under other notable leaders such as

Theophilus and Lord Howard de Walden. Eventually, he found a more stable position as a court lutenist and composer under James I (Holman 2001). He is most known for his more mournful, desolate lute pieces such as “Lachrimae Pavane.” However, for the purpose of this paper and my recital, I will be focusing on two of his more fast-paced dance pieces.

In order to consider the style of Dowland’s instrumental compositions, one must familiarize oneself with the specifications of the Renaissance lute:

The European lute first appeared in the thirteenth century, deriving its name from the Arabic phrase “al-oud,” which means “made of wood.” The lute is one of the most attractive and delicate of all Renaissance musical instruments. Its principal characteristics are an exceptional lightness of construction, a rounded back constructed from a number of ribs, and a peg-box set at an angle to the fingerboard. (Rossing 2010, 4)

2 3

Like the guitar, the lute is a stringed musical instrument that is plucked. The scale of a lute is shorter than that of the modern guitar. The peg head is angled back at nearly ninety degrees, compared to that of the guitar which has an almost straight neck. The lute sits with a length of about thirty-six inches. It has a deep round back, made mostly of wood, and has a sound hole covered with an artistic rosette carved from the wood. The standard modern classical guitar has a flat back, a length of about 40 inches, and an open sound hole usually outlined with a rosette. As a result of the design, the lute is light and mid- range focused.

Since my recital contains compositions originally written for the lute, it is important to consider how I adapted my guitar playing to better suit the style and sound of the original versions. The modern classical guitar has more sonic depth and a wider range of dynamic ability. The tuning of the lute that I have chosen to adapt is G, C, F, A,

D, G, which can be done by placing the capo on the third fret of the modern classical guitar. The tuning of the lute is a controversial topic because of the many variations brought about by the evolution of the instrument and the development of equal temperament. I have chosen my particular tuning because it is the most common for modern day interpretations.

Frog Galliard and Sir John Smith, His Almain

“Frog Galliard'' is said to have earned its name from Queen Elizabeth I, who referred to one of her suitors, Duc d’Anjou, as her frog. The piece is written in a brisk triple meter and contains three specific phrases. For this recital, I have chosen the version transcribed by modern classical guitar virtuoso Scott Tennant, which is written in E major. When performing lute pieces, it is necessary to reference several different

transcriptions in addition to the original tablature to create a historically authentic interpretation. Due to the time period in which Renaissance lute works were composed, there could potentially be inconsistencies depending on the source of the transcriptions.

Dowland himself mentioned in A New Booke of Tabliture, “There have been divers lute- lessons of mine lately printed without my knowledge, false and unperfect” (Dowland,

1596, 3). Therefore, the student cannot assume that there is one definitive version of

“Frog Galliard.” Instead, one can become historically informed via notable scholars and peer-reviewed sources.

While working on these Renaissance dances, I investigated playing with the capo on the second fret, which some may consider closer to the original key of the lute.

However, I found that my instrument is more resonant with the capo on the third fret.

This also allows for more ease of play and effortless transition between widely placed chord shapes. This piece contains phrases of eight, twelve, or in some cases sixteen measures. This was a popular format for galliards written in early-sixteenth-century Italy.

One would often see galliards paired with a pavan, which is another type of Renaissance dance.

There is a simple repetition of a strain throughout the piece which is followed by an embellishing variation. These variations were known as divisions. These were often seen as improvised decorations on a given theme. A rare characteristic of this particular galliard is Dowland’s use of a trochaic rhythm in the bass with dexterous triplets floating above. Dowland offsets this rhythm to develop a hemiola pattern towards the end of each strain as seen in Example 1.1.

Example. 1.1 mm. 29-32

“Sir John Smith, His Almain” is “traditionally seen as German in origin. Its general character was expected to follow a courtly pattern of moderate-tempo duple- meter steps, with strong emphasis on the downbeats” (Dickey 2020). The version I have chosen to focus on was transcribed by Henrique Pinto. This arrangement is set in the key of D Major but is technically sounded in F Major due to the capo raising the guitar’s pitch a minor third.

Dowland composed over one hundred instrumental works for lute during his active years, but very few of those were published and printed during his lifetime. “Frog

Galliard” and “Sir John Smith, His Almain” have presented artistic and technical challenges for me as a student and performer. The pieces are both a delicate blend of legato playing and fast-moving, scalar passages. I have had to localize these speed issues and refine them through multifaceted exercises. This included the use of unique practices of rhythmic variations to train my right hand to execute speedy passages with precision. I have written an example of these which can be seen below in the following illustration,

Example 1.2.

Example 1.2 Rhythmic variations

I have also worked to separate the voices within the melodic lines to train my ear to hear the harmonic motion of each phrase and cadence. This enabled me to develop a deeper understanding of how a phrase should progress and how it should end. Since both of these instrumental works are dances, certain cadential conditions would coincide with specific dance steps, leaps, or dips. For example, the galliard typically has five steps and features a large jump known as the cadence (Kendall 2013).

Chapter II: J. S. Bach (1685-1750) Prelude BWV 998

History

Johann Sebastian Bach’s unparalleled creativity and extraordinary inventiveness earned him a monumental position in the history of Western music. It was apparent from a young age that Bach carried immense potential. Wolff comments that, “no documentary evidence exists to establish when Bach started to compose, but it is reasonable to suppose that it was while he lived in Ohrdruf—not least because other contemporaries, and his own sons in due course, began composing original music before reaching the age of 15”

(Wolff 2001). Even in his earliest compositions, Bach had the intuitive ability to imbue theological symbolism. Scholars have noted that even as a child, Bach held the “sense of an endeavour to break away from musical conventions and find independent answers”

(Wolff 2001). This is one of the primary reasons I was drawn to learn a work by Bach for my master’s recital. I too carry an innate longing to stray from the conventions of classical performance. Bach also had a wide range of compositional influences and vast technical ability on a multitude of instruments which he demonstrates in his preludes, such as the one I have chosen for my recital. The musical quality, density, and technical demands presented in the Prelude have added a new dimension to my playing. The most attractive genres to me as a guitarist are his harpsichord and lute works. The harpsichord repertoire is important to become familiar with as a guitarist because the instrument itself

8 had a similar timbre to the guitar, could be used as an accompaniment instrument, and could be heard as a solo instrument.

I have focused on the Prelude BWV 998, which is believed to be written near the end of Bach’s life. His original manuscript gives the title “Prelude pour la Luth ò

Cembal” which translates to “Prelude for the Lute or Harpsichord.” It is referred to as a lute piece but could have also been played on an instrument similar to the lute known as the Lautenwerk. This unique instrument, “is a small harpsichord with a similarly shaped body to that of a lute. It had gut strings plucked by a quill mechanism” (Leahy 2005, 37).

The sound made by the Lautenwerk has a tenor-like timbre with a narrow dynamic scope.

I found it was useful to reference Lautenwerk recordings in order to imitate the instrument’s style and clarity of articulation and translate them to a modern classical guitar, which was my main challenge in the recital.

Prelude

I used the version transcribed by Frank Koonce who is an acclaimed scholar, teacher, and performer. As I approached the Prelude BWV 998, I thought it would be best to take the composition slowly, one phrase at a time. The piece is written in 12/8 meter and consists of extensive arpeggios which cascade around the tonal center and span several positions on the neck of the guitar. Various passages might require the use of advanced left-hand finger independence and wide stretches, such as the one shown in in Example. 2.1 in which there is a large interval leap spanning from a low F sharp to a high C natural. The stretch is made possible by using fingers 1 and 4 in the left hand.

Example 2.1 Example of left-hand stretch

Influences

In a 2018 interview with NPR, Yo-Yo Ma mentioned that as a child he would explore Bach in small phrases and not attempt to learn the whole piece in one sitting (Ma

2018). Instead, he worked to instill love in each line, adding a few phrases each passing day. I look to Yo-Yo Ma because so many works by Bach that have been transcribed for guitar, were originally written for cello. By using this concept in my preparation of the

Prelude, I felt confident that I was building a strong foundation of technique to execute the piece properly as a whole.

I equate this method to one used by early Indian saint and philosopher, Ramana

Maharshi, in regard to insight meditation. He spoke on treating the practice of meditation as if one were weaving silk. In order to be successful at this task, one must gently weave one thread at a time, inch by inch. If the student were to force the practice, or put too much pressure, it would be as if they were using a crowbar to weave soft silk (Osborne

2006). In the same way, I found by taking this piece slowly, I began to treat each line as an experiment in hearing truth. I mention this spiritual equivalent for it encourages a loving state of musical awareness. Similar to Bach’s theological intentions, the phrases of the Prelude could be viewed as a meditation, prayer, or mantra.

Another perspective I engaged with was getting comfortable with thinking in threes. The entire Prelude is essentially a succession of triplets that are threaded together

10 to create larger four-measure statements. I took this idea and started to apply this “rule of threes” to my daily life. I found myself noticing patterns in nature that occurred in threes, consciously counting my steps as if they were triplets, and even taking three deep breaths.

With this level of practice, I not only embody the material function of the notes as presented in a linear fashion, but I am able to view the piece beyond the analytical mind.

It was a challenge for me to understand the triplet “feel” while also acknowledging that the piece is written with four beats per measure.

Chapter III: Fernando Sor (1778-1839) Op. 6, no. 8, Op. 35, no. 22, Op. 35, no. 17

History

Fernando Sor spent a majority of his childhood and early adulthood in Barcelona.

This is where he was molded as a composer, started to develop his reputation as a guitarist, and received most of his musical education. Sor’s earliest musical inspiration came from his father. As Brian Jeffrey writes in his biography, Fernando Sor: Composer and Guitarist, “he was a man of some musical accomplishment himself, who sang, played the guitar, and allowed the musical education of his son” (Jeffrey 2012, 27).

Growing up, Sor seldom saw the guitar as more than an accompaniment instrument.

Despite his natural musical abilities, Sor was heavily encouraged to pursue a career in the military. He was to treat his compositions as more of a subsidiary hobby. After the passing of his father, his mother could no longer afford his musical education. An abbot took him as a student of the Monastery in Montserrat around the age of twelve (Jeffrey

2012, 39). It was there that he received a structured training in sacred music. During his time in the Abbey, Sor composed choral masses, operas, and put on numerous performances. These early influences can be heard in his later works such as the studies I have chosen for my recital.

11 12

Guitar Construction

The guitar that Sor composed with was much closer to the modern classical guitar than the Renaissance lute previously mentioned in my chapters on Dowland and Bach.

Even so, early nineteenth century guitars:

are generally smaller than the classical guitar of today; the string length generally measures about 630 mm, ranging from 605-10mm to 650mm. The body shapes tended to follow relatively similar proportions, but the end of the eighteenth and beginning of the nineteenth centuries saw the first major innovation since the standardization of six single strings. (Martin 1998, 89)

This guitar, which was originally developed in Spain in the middle of the eighteenth century, had become quite common by Sor’s time. There were technological improvements in string construction, which resulted in wire-wound basses becoming more widely available. The guitar also enjoyed an upsurge of popularity with the guitar due to the adoption of treble clef notation by publishing houses.

Studies

Op. 6, no. 8 requires disciplined practice of slow, legato playing. It is written in the key of C major but is riddled with modulations and chromatic sequencing. I like to imagine that Sor wrote this as more of a chorale-style arrangement, perhaps influenced by his early work writing for the choir at the monastery in Montserrat. I picture each voice as a different character, keeping in mind Sor’s love for Italian opera. I hear the melody as stately but with flow and direction. The study presents an opportunity to exercise proper treatment of resolutions, which can be seen throughout the piece. By leaning on dissonances and letting go as they resolve, the melody gives off a push-pull feel, as if one were turning a waterwheel. There is also the problem of accurately delivering grace

13 notes, which can be seen below in Example 3.1, the most challenging aspect of which is to sustain a continuity of sound without letting notes stick out of the texture.

Example 3.1 mm. 8-17 Example of grace notes

Op. 35, no. 22 is one of the more popular works by Sor. It is in B minor and is primarily a pattern-based study of arpeggios in eighth notes. A key to practicing this piece is not overworking the left hand and only changing positions when absolutely necessary. By keeping the barre on the second fret for most of the piece, the guitarist is able to retain a connectedness throughout the rise and fall of pitches. This approach can be seen here at the beginning of the piece in Example 3.2.

Example 3.2 Example of second position bar

It was useful for me to create a story with this study that involved a dialogue between two lovers. I imagined that the top voice, which I consider to be the main melody, was a woman, with the lower, less-accentuated voice as her male lover. During my practice, I would deconstruct the arpeggios and focus solely on producing a smooth main melodic line. I also found it useful to write out the main melody and play it on another instrument, such as the sitar or piano. By doing so, I was able to internalize the melody and shape it properly on its own without overstating the accompanying line.

Op. 35, no. 17 is written in D major and has an original tempo marking of

Moderato. This work has an especially singable melody filled with large leaps and chromaticism, most of which can be reached without moving too far from the second position D shape. While working this piece out, I thought it was helpful to add an awareness to the large melodic intervals as if I were playing them on the same string. I also took care to bring out the moments that were musically interesting and that fell out of the normal melodic pattern. An example can be seen below in Example 3.3 m. 4, where the bass voice moves up from G to G# chromatically, creating tension.

Example 3.3 Example of bass line chromaticism

Sor is best known for his solo guitar works and studies. Sor is also credited with writing one of the earliest known method books for classical guitar, the Méthode complète pour la guitare, in which he wrote that the study of the guitar itself is an

“exercise of musical imagination that is disciplined” (Sor 1832, 26). This affected my playing by encouraging an open, creative approach to practice. I took it as a way to maintain a mindful direction towards an end goal. The studies that I have focused on for my recital were written towards the end of Sor’s life while he was teaching and performing in Paris. They have taught me how to add character to my playing and how to highlight important harmonic moments in a piece.

Chapter IV: Roland Dyens (1955-2016) Hymne à l’amour

History

Roland Dyens’ visionary and virtuosic approach to the guitar revitalized performance and composition in the twentieth century. His tendency to challenge the limits of the instrument earned him legions of devoted students, fans, and followers.

Dyens had “a sensitive and colorful approach to the guitar. His stage presence, his improvised openings and unique relationship with listeners undeniably position him at the forefront of guitar performance today” (Jackson 2016). He achieved a degree of control over the instrument that was unmatched during his lifetime. He is known for his guitar compositions in which he seamlessly blended styles ranging from classical to jazz.

In a 1995 interview with Classical Guitar Magazine, Dyens mentions:

A journalist once wrote that I was “a classical musician in the hands, and a jazz musician in the head.” For me, that is the best definition. But classical music is my house, my family. I love to travel and I love to come back. That’s why I always play Sor in my concerts. I have always been in love with Sor’s music, and this is my way of saying to people, “I’m a classical guitarist like you.” (Dyens 1995)

I admire this approach to the guitar and music in general. The very basis that we may specialize in a particular instrument or style, but in the end, it is all music. All lines can be blurred, and one should never feel limited to one way of doing things. I have found most of the growth I have experienced as a musician at Belmont a direct result of staying

15 16 open to new ways of doing things: new ways of practicing, new insight on styles, and new methods for approaching technique.

Dyens began learning the guitar at age nine, and soon became a student of the legendary Alberto Ponce. He also began composing soon after he started playing the guitar under the tutelage of conductor and composer, Désiré Dondeyne.

When I got my first guitar, my first wish was to create something, some songs, to improvise. It was my own feeling. I don’t remember when I decided to become a composer. At the same time as the interpretation and the technique, there were always the two aspects in my life. I never separated interpretation from creation. It was like recreation. (Dyens 1995)

In 1979, he won both the Palestrina International Competition and the Special

Prize in the Allesandria Competition. He later became professor of guitar at the

Conservatoire National Supérieur de Musique of Paris. Throughout his career he was in high demand at international guitar festivals and workshops around the world.

Hymne à l’amour

This jazz tune was originally performed by Édith Piaf, with the words written by

Piaf and the music by Marguerite Monnot. Translated as “Hymn to Love,” Piaf wrote the song to memorialize her past love for the French boxer Marcel Cerdan. Marcel died tragically in a plane crash while on his way to New York to visit her. The song, first recorded on May 2, 1950, soon became one of Piaf’s best known. Although Piaf’s version was in the key of A flat, the version that Dyens adapted for the guitar is in E flat.

This requires the use of scordatura for the interpreter, altering the low E string down a half a step to E flat. Dyens’ adaptation includes detailed instructions for dynamics, tempi, articulation, and finger positions. He was known for always being precise with his

17 musical choices such as tempo, positioning, dynamics, and articulation. Some of these can be seen below in Example 4.1.

Example 4.1 Dyens transcription

Since this was first a popular vocal piece, the guitar version follows song form with a gentle refrain and an animated B section. The melody spans over an octave and has moments of unexpected chromaticism. While learning about Dyens and his approach to the guitar, I felt that “L’Hymne a L’amour” would leave an opening for me to expand my tonal and dynamic palettes. In his own words, Dyens comments:

You have to explore this; the guitar is a color instrument—the piano doesn't have this many colors. I don't want anyone to decide, ‘I'm a nail player, I'm a flesh player, I'm an apoyando player, never tirando’ We have to take everything to have the box full of potential—even when playing a walking bass. (Dyens 1995)

I have worked on this by incorporating apoyando strokes in the melody, exploring different right-hand positions for various articulations, i.e., ponticello (nearest to the bridge for a bright sound) and dolce (nearest to the fretboard). This diverse approach reminded me of a concept once articulated by the legendary Andres Segovia. He encouraged guitarists to view the instrument as a small orchestra, treating each string as a different voice and a different color (Segovia 1954).

Chapter V: Paulo Bellinati (1950-) Suite Contatos

History

Paulo Bellinati is a Brazilian guitarist, composer, and scholar. He graduated from the conservatory of São Paulo where he studied under Isaias Sávio. He also studied in

Switzerland at the conservatory of Geneva, was a student of Abel Carlevaro, and later earned a teaching position at the conservatory of Lausanne. Bellinati’s performing style can primarily be associated with a high quality of interpretation for original Brazilian repertoire on the guitar. Similar to Paco de Lucia, who proved that Spanish flamenco could fit with jazz and alternative styles, Bellinati, “proved that classical Spanish guitar fitted with nylon strings is super versatile—the fusion and contemporary jazz suits it as perfectly as classical music does” (Baranov 2020).

Bellinati is most known for his compositions, “Jongo,” “Um Amor De Valsa,” and “Baião de Gude.” However, for my recital I have been working up his “Suite

Contatos.” I chose this work because it contains several technical challenges that I thought would help improve my endurance as a player. It is also a diverse work that ranges from soft legato playing to loud staccato. This work contains five movements: I.

Cadencia, II. Contatos, III. Alba, IV. Pau de Chuva, and V. Les Jambes. It was published in 1992 and was dedicated to his former student Cristina Azuma. There are only a few recordings of the suite available for reference, as it is such a recent and fairly unknown work. There is also not much historical background as to why the piece was written. For

18 19 this reason, I will be focusing mainly on specific musical and technical aspects of each movement, and I will discuss some of the challenges I encountered when working on this piece.

“Cadencia” can be translated in English to mean “cadenza”, or “rhythm.” This perfectly sums up the free form and improvisatory nature of the movement. It is set in a two-four time signature in the key of B minor. Bellinati has marked the beginning with

“movido,” which can be interpreted as a fast flowing, rhythmic idea. It begins with a descending bass line in one voice with a sustained syncopated F# on top. This opening presents the challenge of playing a series of rhythmic changes quickly and accurately. It also requires the guitarist to accentuate the bass line with the thumb while not overpowering the inner voices as seen in Example 5.1.

Example 5.1 Cadencia introduction

This gesture makes for a vivid introduction to the suite. I like to picture someone setting a boat down on a body of water. The weight of the boat causes the ripples to expand out then dissolve unto the sea or the “cedendo” in measure three. In the first few phrases of the piece, we see multiple rhythmic changes. Triplet groupings connect to sixteenth notes, to sextuplets on a wide-leaping descending line which can be seen in Example 5.2.

Example 5.2 mm. 5-11

The challenge here, as with the rest of the suite, is accuracy of rhythm and swift position

changes. I found it was best to work on each of these sections in chunks with the

metronome and treat each one as a ground or “jam.” This was the best way to refine them

while maintaining the pulse without obfuscating the transitions. Though, ultimately the

piece should not be played to a strict tempo.

The second movement “Contatos” is centered around a specific groove and

presents similar rhythmic challenges as “Cadencia.” Bellinati has expanded on some of

his previous ideas such as the descending bass pattern. One of the more interesting

aspects of this movement is the melodic interplay between voices. The upper voice that

consists of moving sixteenth notes is the leading voice at the beginning as seen in

Example 5.3.

Example 5.3 Excerpt with descending bassline

The moving-sixteenths later pass to the bass in mm.7-8 in Example 5.4.:

Example 5.4 Excerpt of voice exchange

This was an intriguing challenge in the sense of right-hand finger independence. The

player is constantly having to alternate the strength used in each finger in order to

emphasize the importance of the melodic line. As seen in the excerpt above, the guitarist

would want to bring out the moving bass with p (thumb) while not overplaying the

harmony with i (index), m (middle), and a (annular or ring finger).

A resource that is useful here are right-hand arpeggio studies by Abel Carlevaro

in his “Serie Didactica.” This method contains several right-hand arpeggio exercises that

consecutively alter the accentuated beat. This requires the player to develop a heightened

sense of skill in regard to finger pressure within each stroke and can be seen below in

Example 5.5.

Example 5.5 Carlevaro study

Another musical gesture in “Contatos” that has required attention is a quick

arpeggiation seen in m. 30 starting on an open-sounding G chord with a shift up to a half-

barre in seventh position. The open strings in this passage help with keeping it legato and

idiomatic for the guitar.

Example 5.6 mm. 28-30 Example of arpeggio

It is useful to practice this fast passage by taking the notes out of the left hand completely

and just focusing on making movement of the right hand even. I worked on planting i, m,

a, with each successive note to ensure a balance of note value and articulation. I also took

notes out and focused on just hearing the eighth note pulse, then added in the rest of the

run.

“Alba” is the first movement that changes both key signature and time signature.

It is in six-eight with a key signature of B Major. Overall, it has a heavenly presence,

which is primarily due to the spacious melody and use of harmonics seen below in

Example 5.7.

Example 5.7 Example of harmonics

In mm. 16-18, there is a riff that requires balanced right-hand fingering, alternating between i and m on the second and third strings. This poses the issue of maintaining accuracy in articulation while also executing both a crescendo and an accelerando as seen in Example 5.8.

Example 5.8 mm. 16-18

The challenge here is to maintain a fixed rhythm while also speeding up and growing in volume. The accents in the descending bass line are reminiscent of rhythmic patterns from the previous movements. This movement is a perfect combination of lilting melodies and rhythmic velocity.

“Pau de Chuva” is marked Lento, in four-four time, and is back in the original key of B minor. This movement is an example of smooth legato playing. Here, it is just as important to focus on the space surrounding the notes as it is the notes themselves. As an artistic choice, I worked to soften the edges of every phrase through delicate growth and decay of dynamics.

“Pau de Chuva” also contains sporadic moments of quick-moving triplet scales up the neck of the guitar as seen in Example 5.9.

Example 5.9 mm. 4-6 Triplet scale passage

An effective way to practice a passage like this is to prepare and plant i and m in a staccato style. This way, the fingers get into the habit of returning to the string almost immediately after plucking them. A very “touch-and-go” approach is essential to making these runs light and agile.

Another technique found in this movement is the use of the campanella effect.

This is an alternative way of playing that is not marked in the score but can be effective when the player wants a seamless connection between notes. It can be defined as a technique in which “each note is played on separate strings so the scale passage rings together like a harp” (Glise 2016, 68). I use it here during the ascending portion of the following scale.

Example 5.10 Excerpt of campanella technique

Using the campanella technique also produces a more “libero” or “free”-sounding slur than if I played the run in the first position.

“Les Jambes”, or “legs”, is in a 4/4 time signature in the original key of B minor.

The setting of the piece is fast-paced and lively, as if one were running to the finish line of a race. Bellinati has the beginning marked as “vivo.” I have chosen to interpret this movement in stark contrast with the previous two in the sense that I play it more straightforward and less in a free-form, rubato style. The introductory line, marked fortississimo, implies a fierce and declarative expression through the use of power chords as seen in Example 5.11.

Example 5.11 Example of power chords

The idea here is speed and volume. Since this riff requires such a swift change of position, it is essential that the player be meticulous with timing. It is easy for the pulse to get lost with so many rhythmic mutations. This riff reminded me of ones I would hear from my favorite rock-and-roll groups growing up. I thought it might be an interesting experiment to research some popular music that may have been released around the time

Bellinati would have written “Les Jambes.” I wanted to see if there was any music I could draw on to assist in my interpretation, especially in this fifth movement. Sure enough I stumbled upon Black Sabbath’s “Air Dance” (1979), which has an introduction eerily similar to the rhythm, melody, and transition of “Les Jambes.” This similarity can be heard in the first forty-five seconds of the 1979 recording from the album “Never Say

Die!”

Another challenging instance in this movement is an arpeggio that blends into an ascending scale, seen in the development section. Bellinati has organized the sixteenth notes in groups of three which can easily be executed by use of an a, m, i, finger pattern.

His markings indicate the emphasis of the first note in each three-note grouping as seen in Example 5.12. The result is a metric dissonance against the notated meter.

Example 5.12 Example of metric dissonance

Working on “Suite Contatos” has taught me so much about the importance of rhythmic accuracy in addition to right-hand strength. Bellinati’s approach to composition is multilayered and natural for the guitar. By exploring each movement of this work, I was able improve my technical facility on scales and arpeggios. I also expanded my understanding of the tonal and dynamic palette on the guitar. I was forced to step outside of my comfort zone and dive deep into Brazilian-style classical guitar. I noticed that in this style of repertoire, there are very distinctive rhythmic patterns and grooves that give it a unique beauty and charm.

Chapter VI: Andrew York (1958-) Home

History

Andrew York has a distinct voice in the world of classical guitar. His unique style has led him to become one of the most successful guitarists and composers of our time.

Of all the guitar composers I have come across as a western classical student, York’s voice stands out to me because his is a blend of classical, American roots, folk,

Renaissance music, the list goes on. In his own words, “It’s important to open yourself up to how the guitar can be a communion of styles” (York 2015). York grew up playing folk music after learning how to play the guitar from his father and his uncle. He also performed with rock bands and studied jazz guitar. He received his master’s degree in classical guitar performance from the University of Southern California. At that institution, he studied under Pepe Romero and began composing for the classical guitar.

York first received international recognition for his compositions while working with the

Los Angeles guitar quartet, a Grammy-winning ensemble.

Home

To close this graduate recital, I will perform Andrew York’s piece “Home.” This composition was released in 2018 and is considered one of the most popular works by

York. It is a “compelling and poignant piece in D major, folkloric in style, with a Scottish sound” (York 2015). “Home” is written in 4/4 time and also contains a scordatura, similar to “Hymne à l’amour” and “Prelude BWV 998.” The sixth string E is tuned down a whole

27 28 step to D. Most of the work is centered around a repeated theme that can be heard at the beginning and which can be seen below in Example 6.1.

Example 6.1 Excerpt of theme

Proper placement of the grace note is essential to keeping this motive in time. By practicing with right hand blank technique p i m i, the guitarist can create a sense of tonal balance and rhythmic efficiency. I found this technique useful throughout most of the piece as this rhythm is seen in both ascending and descending passages noted below in

Example 6.2.

Example 6.2 Example of repeated rhythm

The B section of “Home” is centered around the B minor chord, which stands in a diatonic mediant relationship to the original key of D major. A key component to this part of the piece is bringing out the top line of the melody via rest-stroke while not overplaying the bass accompaniment as seen in Example 6.3. It is useful to practice this by taking out the accompaniment completely and focus only on playing the top line in time. The guitarist must approach the notes with a sense of rhythmic preparation and should think ‘ahead’ of the beat.

Example 6.3 mm. 52-54

The most expressive moment in “Home” is the last statement of the melody which is moved up to the twelfth fret. This section is the gentlest and most fragile of the entire piece. I like to picture a feather floating down from the sky, wafting slowly back and forth in the wind. It is best not to rush this section but instead, use it as an opportunity to showcase rubato with a dolce or ‘sweet’ tone color.

Example 6.4 Melody in high range

In general, “Home” poses the artistic challenge of keeping the listener interested because of its repetitive nature. I worked to treat each successive melody as one that builds off the proceeding one. I do this by subtly increasing the dynamic of each section in order to give the effect of a slow crescendo throughout the entire piece. An iconic example of this approach can be heard in Ravel’s Bolero.

Andrew York’s diversity as a composer and performer is what drew me to his music, which has a certain ‘pop’ element that makes it catchy to my ear. My attraction to

30 his music might also stem from our similar musical background and influences. I too grew up primarily singing and playing folk songs, bluegrass, and rock. As I matured as a musician, I began to get more and more interested in classical traditions and the historical heritage of the guitar. In some ways, I feel that York and I have had similar musical journeys, and his piece “Home” has a way of bringing me “home” to my most diverse self.

Conclusion

The journey of preparing for a recital was a multifaceted one. It requires in-depth historical research, technical proficiency, and artistic eloquence. By uncovering the significance of each piece and composer, the guitarist is able to embody a wider understanding of the music. This understanding, combined with spontaneous expression, is what ensures a well-rounded performance. The guitarist not only learns the notes and memorizes the music but applies historical research and theoretical knowledge to strengthen the authenticity of the performance. This process requires patience, hours of dedicated practice, and meticulous resource excavation. However, I now know that this very process is what leads to purpose, purpose as a means of creative fulfillment and artistic ingenuity.

The works of Dowland, for example, pushed my technical facility in regard to speed and accuracy. I had to develop new ways to tackle fast moving, scalar passages via exercises in rhythmic manipulation. I discovered it was the most beneficial for me to create my own exercises as this added a new layer of depth to my practice. In a way, this approach made me feel like the music was becoming ingrained in my playing. Dowland’s pieces were also an opportunity for me to learn about the Renaissance period and apply an historical context to my performance, such as knowing that galliards were often polyphonic pieces intended to accompany dances. The “Prelude BWV 998” by J.S. Bach, above all, tested my sense of interpretation and ability to draw musical influence from other instruments, such as the Lautenwerk. I discovered the benefit of phrasing passages

31 32 so that they move the piece forward, giving lines momentum and direction towards resolutions. I referenced both Baroque-inspired and contemporary recordings when working on the Prelude. I came to realize the value of a traditional interpretation as well as the artistic benefit of creating my own. I recognized that, instinctively, I gravitated towards constructing a version that contained lots of rubato and was more sentimental, more dramatic.

The primary takeaway from the studies by Fernando Sor was my ability to develop an awareness of the high and low points of phrases and the proper way to clearly treat harmonic resolutions in early nineteenth century guitar works. Prior to studying Sor,

I tended to overplay resolutions and did not have a working knowledge of what notes in a phrase should be emphasized. It is clearer to me that in the Classical period it is common practice to emphasize high notes, low notes, long notes, and notes at harmonically distinctive moments. Learning works by Sor also challenged my artistic ability to shape each line as its own entity. By doing so, I could reveal to my ear which melody should be dominant in any given phrase and to pay mind to that voice. “Hymne à l’amour” confronted the issue of reimagining a jazz vocal song for the guitar, as well as pushing the limits of tone color and dynamics. Dyens’ transcription aided my interpretive decisions and taught me much about the profound art of bel canto guitar playing, such as emphasizing evenness of tone and legato playing. Bel canto technique also encourages the idea of diversifying one’s tonal palette.

“Suite Contatos” gave rise to the value of rhythmic versatility and internalizing time. It also presented the challenge of exploring a modern composition style that was idiomatic yet versatile on the classical guitar. The broad, improvisatory character of

“Cadencia” took me out of my comfort zone as a musician and strengthened the agility of my right hand. It also brought to light the necessity for coordination between the left and right hands. This became especially obvious at moments with fast moving, ascending and descending passages that called for precise use of ascending and descending slurs. “Alba” and “Pau de Chuva” challenged my ability to maintain a continuity of sound throughout position changes and slow, melodic passages. They also helped me to enhance my legato playing. “Contatos” and “Les Jambes” contained distinct rhythms and dynamics that pushed me to strive for a bigger sound, one that could fill a recital hall. “Home” tested my capacity to decipher a modern work that is the result of a communion of styles. Its repetitive melodic form posed the issue of maintaining interest and dynamic flexibility.

While writing this recital paper, I have investigated and explored many aspects regarding the preparation of a successful classical guitar recital. While studying the chosen repertory, I have encountered opportunities to grow as a musician and a teacher. This includes guitar technique, such as refining the development of my right- hand, and my ability to give direction and purpose to my performances. Above all, I have come to know that the path towards a successful recital is a culmination of historical, theoretical, and artistic understanding of the art of performance. It is up to the guitarist to create a moving, personalized performance that is both traditionally authentic and cleverly crafted.

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